Ink Stains 23: Fantastic Fanzine 11

Face Front, kiddos! It’s a Jim Steranko special and Fantastic Fanzine 11! 

Dave Cockrum

Fantastic Fanzine 11, 1970
Editor and Publisher: Gary Groth 

Those of you that have read this column from the start know that one of my favorite fanzines of all time is Gary Groth’s Fantastic Fanzine. From the very first issue I saw (probably issue 10, though I later got the previous double issue of 8*9) I was amazed at the amount of talent Gary was able to corral into each issue. It read like a virtual who’s who of the fanzine world, and always included many illustrations by current pros as well (with many of the fans going on to become pros later). This issue 11 is no exception. It is jam-packed with exciting artwork, so much so that I could only include a fraction here. This is definitely an issue you want to download! 

How a high school kid managed to score so many amazing pieces of art points to Groth’s future success as a publisher and muckraker. Issue 11 boasts a beautiful Steranko cover of the Black Condor, several pencil drawings by the seminal artist, as well as a lengthy interview, a mainstay of most issues of Fantastic Fanzine. Now, I will issue a slight warning...I was lucky enough to have a reader send me the pdf of this issue, as I lost it long ago, so there are a few blurry spots and dark areas at the edges, but I did try to clean it up the best I could. The only spot that is sadly affected to a large degree is the gorgeous T.H.U.N.D.E.R. Agents centerfold by Dave Cockrum. Other than that, the whole issue came through in pretty good shape. 

As I said, the Steranko interview is lengthy, and Groth covers a lot of ground. Conducted in Steranko’s home and prefaced by a charming tale of nervous anticipation by the interviewer, it is a delightfully exhausting affair. I could stand to be exhausted like this more often! One craft related tidbit I found interesting is that Steranko inks everything with a brush...everything, and that includes machinery. Groth and Steranko go on to cover topics such as the Comics Code, Steranko’s favorite artists, his interactions with Marvel, and his own barbarian creation, Talon (several pencil drawings seen below).

There are several more illustrations of this character, all the more reason to download the pdf! The interview is accompanied by illustrations by several artists in the FF stable (John Cornell, Robert Kline, and Doug Rice) of Steranko related characters. 

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Jim Steranko

Another illustration I just have to show is the humorous and incredibly detailed full page piece by Robert Kline. Not only does it reference Steranko’s suave demeanor and plethora of talents, but it visually makes reference to the hapless cassette recorder with which Groth used to conduct the interview. Kline never disappoints, and his work is scattered throughout the zine. 

Robert Kline

Below you see a combination of a few illustrations that accompany the interview. Jeff Rinehart at top (with an illustration closer in style to Neal Adams, mentioned in the interview as one of Steranko’s favorites, rather than Steranko himself...may even be a swipe), Dave Russell at left (doing a very good Steranko!), Steranko himself in the center, and John Cornell at right. 

Since the original installment posted loooong ago (and even since this update), I was lucky enough to track down Dave Russell, whose illustration you see above, for an interview. I have been waiting for the next update in sequence where Dave played a part, but am tired of waiting! Plus, I want all of you to see his wonderful transformation into the cool and accomplished guy he is today! Below, you will see the interview, where Dave turned my basic questions into something really fun and informative to read. He also supplied much more recent art, so I am really happy I am finally able to incorporate this into the Ink Stains universe and even moreso, happy that you get to see it all!

An early fanzine submission from Dave done in 1967. Here you can see his obvious Kirby influence!

Ken: What were the circumstances around you starting to read comics in the first place?

According to my parents, I displayed a keen interest in fantasy stories in early childhood. I recall my mother reading to me some of the Oz books, which fired my imagination. Eventually I developed into a voracious reader, especially tales of adventure, fantasy, science fiction, and mythology, particularly the Norse cycle. Like many kids of my era, my first introduction to comics was via the newspaper strips, and then the Disney kid publications. 

Ken:  Also, what prompted you to start submitting to zines?

In 1967 I read about the fanzines phenomena via a reader's comment in a Marvel letters page. Intrigued, I began making inquiries and submitting artwork, which finally led to my first publication.

Ken:  You were in a TON of zines...did you send stuff out regularly, and how did you find out about them?

Beginning in 1967, I submitted illustrations to every comics fanzine I could find, especially those with a focus on Marvel. Embarrassed by the relative crudeness of my drawings in those early days, I took great pains to boost my skills over the next year or so, sketching from nature, models, studying anatomy books--and, of course, studying the terrific work being produced by Marvel and DC artists at the time. Positive fan response to my artwork provided a great morale boost, and further encouraged me to hone my craft. By age 17 I was determined to someday try my luck at Marvel.

Ken:  Did you have any favorite zines as a reader and then, as a contributor (favorite editors, etc)?

I was fortunate to enjoy the early support of publisher Greg Kishel, who regularly included my work in the excellent Marvel Mirror. Thereafter I was approached by many other fanzines for submissions, opening a wealth of connections to similarly minded comics fans and creatives. 
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Once I felt I'd had enough respectable work published, I began contacting many of the artists I admired such as Bob Kline, Dave Cockrum, Jeff Jones and others for tips on how to improve my drawing. Most of these good folk were willing to correspond and advise; really, it was a great experience.

Ken:  Did you have any in person contact with any of your fan friends?

In 1970 my old friend Scott Blume and I made an eventful cross-country trip. Two of our most important stops were to the Minnesota home of Greg Kishel, and then to the Detroit Comic Con, the first I'd ever attended. Once at the Con I met many artists, editors, and a few key professionals-- the latter of great importance, inasmuch as I wanted to canvas these insiders regarding the possibility of working for Marvel. Unfortunately, after a private conversation with Jim Steranko, I learned that this goal was unachievable due to the industry's restrictive racial policies at that time.

Ken: Your primary influence was obviously Steranko...what turned you on to him and who were a few of your other influences?

Jack Kirby was, in fact, my key influence-although I certainly admired Steranko's innovative storytelling methods and incredible graphic skills. The first Kirby comic I recall making a huge impact upon me was The Incredible Hulk #1. Something about Kirby's drawing and compositional style set off a creative bomb in my mind, and which continues to this day. Thereafter I bought just about every one of his Marvel superhero books, and, as my artistic inclinations developed, my understanding and appreciation for his brilliance only grew. There is no doubt in my mind that Jack Kirby was one of the most incredible artists that America has ever produced.

Ken:  Were you able to use your fanzine experience in any way to move into professional comics?

Not really, for reasons I have outlined above.

Ken:  What has been your primary career since your fanzine days? 

I studied at Pasadena City College for two years majoring in art and history. During this time, I met Jack Kirby at a San Diego convention, and began an enduring friendship. This period was followed by three years at Art Center College of Design, majoring in illustration. It was at Art Center that I finally met Bob Kline, who many years later would be instrumental in helping me secure my first Hollywood job.

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From a proposed daily Shaft strip that did not materialize, due to shady superiors and circumstances.

Post-college, I relocated to Seattle for seven years, working there as a book, magazine and advertising illustrator, muralist and filmmaker. Always a huge science fiction fan, I attended a local writer's workshop in 1977 helmed by Ben Nova, Frank Herbert and Jack Vance, the latter an author whose work I deeply admired. Vance and I struck up a friendship which, like that of Kirby, had a profound impact on my creative development and future career.

In 1981 I returned to Los Angeles, at which time Bob Kline arranged an interview at Filmation Studios, resulting in a storyboard position on the Blackstar animated series. However, although enjoying working with the studio's enthusiastic creative team, I was resolutely focused on breaking into live action films.

An opportunity to do so surfaced in 1982, when Lucasfilm approached Jack Vance about acquiring rights to one of his fantasy novels. After describing the challenges I'd had in trying to break into the film industry, Jack suggested that I be present during his next business call to Lucasfilm, at the conclusion of which he'd pass the phone to me to make my pitch. This I did, and ended up speaking with Joe Johnston, the company's VFX supervisor. Likely out of respect for Jack, Joe agreed to an interview; however, both he and Lucas responded favourably to my work, and I was subsequently hired as a VFX storyboard artist on Return of The Jedi. It proved to be a wonderful experience, albeit with a very steep learning curve. It was this project that actually began my film career, proving the experience and credentials to move forward.

Some of Dave's Return of the Jedi work. Did you hear me? RETURN OF THE JEDI!

...and more.

However, back in Hollywood, a new problem surfaced. Although I'd obtained a great first credit, Lucasfilm did not operate under the industry's union rules, and so I could not legally work on union films, which then represented the majority of productions. Another problem (which I'd faced many other times in my career) was a 'color line' which routinely barred most non-White talents from union membership with disturbing efficiency. To get a union card, a man had to work 30 days on a union film; however, to work on a union film, you had to have a union card. A neat Catch-22, even aside from the racial impediment.

However, keen to continue working in features, I was legally able to work on non-union, often independent features, and thus gradually began to increase my skill base and industry connections. I was also hired illegally on union films, with the promise of obtaining the needed days. However, on each such production the producers would fire me just before the 30th day, thus avoiding the penalty that would be imposed by the union. 

This situation continued for about two years until I was recommended for a new Spielberg's film called The Color Purple. My interview with the director and producer Kathleen Kennedy went well, and I was hired. Aghast that I'd had so much trouble in securing union membership, these two people ensured that I worked far beyond the stipulated one-month period on the film, thus breaking me into the union--and paying a not-inconsiderable penalty for doing so. However, Steven and Kathy had also made history by installing the first Black union illustrator.

An image from Dave's work on The Color Purple.

Since those halcyon early days, I've worked on over 140 film, television, and animation productions, almost exclusively as a concept and/or storyboard artist. My current project is a Civil War era drama of considerable scope. I thoroughly enjoy my chosen artform, which continues to offer new creative possibilities with each script and technological advance. My style of drawing and design remains rooted in Kirby's dynamic and visionary methods, which have served me well throughout the years. Jack continued to be a terrific mentor and supporter throughout our long friendship; I miss him to this day. ​

Russell

Concept work from 2015

Very recent work from Dave.

Dave with the King and Queen!

Dave today!

Groth follows the interview with four different takes on the artist and his work by writers who contributed regularly to FF and other fanzines. Gordon Matthews, Bill Cantey, Richard Howe, and Dwight Decker all give their impressions of the artist as a man, and the artist’s work. There is also a Steranko checklist following the four articles. 

Kline

Bill Cantey also contributes a bit of fiction called Running Mate, featuring a Ka-Zar like character and illustrated by several beautiful works of pen and ink, such as the Robert Kline piece above. Also seen are Dave Cockrum’s entry into the ‘good girl’ art hall of fame below, and a J. Baldwin/Kline spot illustration of Ka-Zar. I need to correct a minor error here, as the Angel piece seen above actually is seen during the Running Mate story.  Boy, between the illustration above and the following Cockrum piece, I think we have good girl art covered this installment!

Cockrum

Following this story is an article dealing with Captain America, and hypothesizes how the character survived (and why the shape of his shield changed) from the golden age of comics into the silver age. It features illustrations by Al Grinage and Jeff Rinehart. After that, we are treated to the fan letters page and another great (and funny) illo by future pro Dave Cockrum (seen below). 

Other articles fill out the zine, including a progress report on a campaign to revise the aforementioned Comics Code, as well as another update on the effort of fans to get comics into the hands of troops stationed overseas called Project Repay.

All in all, yet another incredible issue of Fantastic Fanzine, showing Groth’s precocious skills as an editor/writer, and sheer joy as he reveled in the world of comic books and its creators. Groth and his stable of artists and writers produced the ideal representation of fandom in the 70s, which is why I have featured this fanzine several times. I hope you have enjoyed another glimpse into the world of fandom in general and Fantastic Fanzine in particular.

It is possible I may find the time to scan and upload an incredible catalog of fanzines and related materials offered by fan favorite John G. Fantucchio. If you don’t see it when

this article posts, check back frequently, as I may have to get to it a bit later. But, it is worth the wait, as John has a large and well preserved collection of material from that time...I wish I could afford to buy it all! See an illustration by John from this issue of Fantastic Fanzine below. 

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Big huge thanks this time goes out to Tony Robertson, who sent me the pdf of this issue. Please reward him by visiting his Steranko site here ! And, now, in this new version of the installment, a big bombastic blast of thanks goes out to Dave Russell!

Ken Meyer Jr
[email protected]